Fabio Fazio

Fabio Fazio in 2010

Fabio Fazio (born 1967), Italian television preseenter.

Quotes

  • Zucchero is very fortunate: he writes and sings well. He entertains people, but what I find truly extraordinary is his enthusiasm. Zucchero is the only one who lets you hear an album before he releases it. This gives it meaning and makes us realise that this is the work of an artist. Now that he has achieved fame and international recognition, he continues to put himself out there in the most authentic way, not inventing things to impress, but rediscovering and searching for what he wants to say about himself and his roots. This is truly rare. If you think about it, there is not much difference between Zucchero's songs and the photographs in which he is portrayed with his grandmother. It is as if, unconsciously, he is trying to tell the story of that photograph through his profession.
    • Zucchero ha una grande fortuna: scrive e canta bene. Poi fa divertire la gente, ma ancora di più trovo veramente straordinario il suo entusiasmo. Zucchero è l'unico che ti fa sentire un disco prima di presentarlo. E questo dà un senso che ci mette di fronte al fatto che quello è il lavoro di un artista. Ormai alla sua raggiunta celebrità e al suo riconoscimento internazionale continuare a mettersi in gioco nel modo più autetico, cioè non inventando per stupire, ma riscoprendo, andando a cercare che cosa di se stesso voleva raccontare, le sue radici, è una cosa davvero rara. Se ci si pensa non c'è grande differenza tra le canzoni di Zucchero e le fotografie nelle quali è ritratto con sua nonna. È come se inconsapevolmente nella sua professione cercasse di raccontare quella fotografia.
      • From the TV program Un soffio caldo – Natale con Zucchero, Rai 2 (December 21, 2010)
  • Rodotà has always been committed to the affirmation of rights for all. And rights are the foundation of every action and thought.
    • Rodotà è da sempre impegnato per l'affermazione dei diritti di tutti. E i diritti sono il fondamento di ogni gesto e pensiero.
  • It's not that I'm cynical, I'm from Liguria. And Ligurians have a practical sense of things, there's no point pretending...
  • Since words have enormous power on television, I think they should always be used with respect for the person you are addressing and for those who are listening to you. ‘Do-goodism’ is a stupid definition, in the sense that it is a stupid ‘simplification’, which I dispute. What is the opposite of buonismo, being mean and cynical? To get what, a headline in the next day's newspaper? To build your career by hurting someone else? We are full of self-proclaimed opinion makers who make a career out of talking badly about others. In life, you can be famous either because you build something or because you destroy something.
    • Siccome in televisione le parole hanno un potere gigantesco, penso che bisogna usarle sempre con rispetto per la persona che hai di fronte e per chi ti ascolta. Buonismo è una definizione stupida, nel senso che è una "semplificazione" stupida, che contesto. Il contrario di buonismo cos'è, essere cattivi e cinici? Per poter avere che cosa, un titolo sul giornale del giorno dopo? Per poter costruire la tua carriera avendo fatto del male a qualcuno? Siamo pieni di sedicenti opinionisti che fanno carriera parlando male degli altri. Nella vita si può essere noti o perché costruisci o perché distruggi.
  • Political interference has never been so strong on public television. I am talking about company management, advertising limits, and salaries. There is no company in the world that can survive in the market with someone from outside dictating rules and setting limits.
  • (About the COVID-19 pandemic) It has become clear that those who do not pay taxes are not only committing a crime but also a felony: if there are not enough beds and ventilators, it is also their fault.
    • È diventato evidente che chi non paga le tasse non commette solo un reato ma un delitto: se mancano posti letto e respiratori è anche colpa sua.

Anche le formiche nel loro piccolo s'incazzano, volume quarto (a gratis)

*Gino e Michele, Matteo Molinari, Anche le formiche nel loro piccolo s'incazzano. Opera omnia, Arnoldo Mondadori Editore, Milano, 1997. ISBN 88-04-43263-2
  • In love, a small gesture can make up for a lot: come on, take off your underwear.
  • Love is the most beautiful thing in life. Like pussy.
  • ‘Want to come up for a drink?’ ‘No, come on, let's fuck here.’

Sette, 28 October 2010

  • Today's television wants to do everything except tell the truth. It is television of the plausible, not of the real. And our programme with Roberto Saviano, Vieni via con me, aims to be an act of truth, a testimony of love. It is not a political programme, nor is it investigative journalism. It is a story of today's Italy.
  • I've had enough of Padania. What is it? Where are its borders? I am from Savona, where we speak a different dialect from that of Genoa, which is forty kilometres away, let alone Trieste or Rimini. I'm fed up with the confusion between the inhabitants of northern Italy and the voters of the Lega. There are many northerners who do not vote for the Lega and feel Italian, not Padanian.
  • [Italy today] A frightened country. Paralyzed by fear. The global world looks to Italy and its style, which is not just about fashion but above all a way of life; just when Italy seems to have lost faith in the future, it does not believe that things can be better than they are now.
  • There is a two-way relationship between the prime minister and the country. Italy couldn't wait for Berlusconi to come along, and Italy is the way it is because Berlusconi is there.
  • I've been with Rai for twenty-seven years. I still have a year left on my contract. I remember the first time I went to Via Teulada: it was a legend becoming reality. I fear that the turning point came when the article was dropped, when ‘Rai’ became simply ‘Rai’: Rai and Mediaset. That was when people started saying ‘the company’, even though they knew that Rai could not, indeed should not, be just a company.

E vi dimostrerò che anche Sanremo ha la sua grande bellezza

From an interview of Aldo Cazzullo, Sette (February 14, 2014)
  • I believe that a distinction must be made between enjoyment and exploitation. I am in complete agreement with the enjoyment of a good: beauty must be accessible and enjoyed by those who are interested in it. In my opinion, exploitation implies betrayal, not because it results in economic gain, but because it transforms that place into something else.
  • We are using symbolic places for economic exploitation or simply because the architect who works on them will be noticed. It is one thing to prevent Pompeii from collapsing, it is quite another to rebuild it and turn it into Disneyland. It is important to understand the passing of time, the marks left by time. It makes sense to preserve, it makes less sense to improve or update; [...]. Things have value if you can see them with today's eyes, discover if they tell you something.
  • What is built outside greatly influences what you build inside. [...] If you are in a beautiful place, your mood changes. We have neglected the beautiful things in life. We have built a world where only what can be monetised matters: even space and time.
  • Everything that makes life beautiful is considered a luxury: knowledge is a luxury; and beauty is the future of knowledge. This is the only thing that makes things beautiful or ugly: if you know, if you are aware. Globalisation has swept away what has always been a characteristic of human beings: the search for beauty not as pure aestheticism, but on the contrary as self-construction.
  • The line between pop and aesthetic catastrophe is blurred.

Quotes about

  • He too is red, a cherry red that is unmatched even in the vermilion of Rai Tre. But he loves to play the opposite role. That of the innocent little priest without a parish, friend to all and enemy to none. In reality, in today's Rai, fragmented into sultanates, there is no one more partisan than him. His little hand is wrapped in grey velvet, but inside he hides a poisoned stiletto. It is with this blade that Fazio practises inflexible censorship. [...] Fazio had invited Pietro Ingrao [...]. In a fit of memory loss, the old communist leader claimed that the Italian Communist Party had distanced itself from the Soviet invasion of Hungary in 1956. A complete falsehood, as history teaches us. But Fazio and the invited audience were careful not to object. Not even a murmur, a cough, a sidelong glance. Why? q:it:Edmondo Berselli, a free-thinking intellectual who recently passed away, explained it thus in L'Espresso: ‘Because at that moment, the senescent but not senile apotheosis of an impossible communism, a utopia, a great dream, an assault on heaven, was being celebrated. And so much the worse for the facts, if the facts interrupt the emotions’. Fazio is not interested in the truth. Especially when he paints a picture of Italian history and reality that clashes with his narrow political horizon.
    • Anche lui è rosso, un ciliegione che non ha eguali neppure nella vermiglia Rai Tre. Però ama interpretare il ruolo opposto. Quello dell'abatino innocente senza parrocchia, amico di tutti e nemico di nessuno. In realtà, nella Rai odierna frantumata in sultanati, non c'è nessuno più fazioso di lui. Ha la manina avvolta nel velluto grigio, ma dentro vi nasconde lo stiletto avvelenato. È con questa lama che Fazio pratica una censura inflessibile. [...] Fazio aveva invitato Pietro Ingrao [...]. In preda a vuoto di memoria, il vecchio capo comunista sostenne che il Pci aveva preso aspre distanze dall'invasione sovietica dell'Ungheria, nel 1956. Un falso totale, come ci insegna la storia. Ma Fazio, e il pubblico invitato, si guardarono bene dall'obiettare. Nemmeno un mormorio, un colpo di tosse, un'occhiata di sbieco. Come mai? Edmondo Berselli, un intellettuale libero scomparso da poco, lo spiegò così sull'Espresso: «Perché in quel momento si stava celebrando l'apoteosi senescente, ma non senile, di un comunismo impossibile, l'utopia, il grande sogno, l'assalto al cielo. E quindi tanto peggio per i fatti, se i fatti interrompono le emozioni». A Fazio la verità dei fatti non interessa. Soprattutto quando traccia un quadro della storia e della realtà italiana che fa a pugni con il suo ristretto orizzonte politico.
  • [He is] the classic communist with his heart on the left and his wallet on the right.
  • Fabio, in my opinion, is incredibly well-prepared. I am constantly amazed by his ability to change: he switches from cinema to current affairs, from politics to history. He knows musicians and the history of music, and he always has a witty remark at the ready. This is not something that can be improvised. His skill is quite unique in Italy.
    • Fabio, secondo me, ha una preparazione incredibile. Mi meraviglio continuamente della sua capacità di cambiare: passa dal cinema all'attualità, dalla politica alla storia. Conosce i musicisti e conosce la storia della musica, e ha la battuta pronta. Non è una cosa che si può improvvisare, questa. La sua abilità è abbastanza unica in Italia.
  • Fazio is the mellifluous leftist. His eyes look like two eggs in a frying pan.
    • Fazio è il sinistro mellifluo. I suoi occhi sembrano due uova al tegame.
      • As quoted in Claudio Sabeli Fioretti, Alfredo Biondi, Corriere Magazine
  • He's boring, his guests are boring.
  • But he's a total piece of shit! Everyone says he's nice, but it's not true! I completely disagree: he's the most cynical man I know.
  • To be allowed on television, you have to belong to the new television species created during the Berlusconi years, but which is still in vogue. The figure of the paraculo, yes, write it down, the one who never takes sides, who blends in, who makes indifference his banner. [...] Names and surnames, as I do in show business. Bonolis, who claims to feel neither right nor left, Fabio Volo, who boasts of being a indifferent, Simona Ventura, who defines herself as equidistant, candidly adding that she worked at Mediaset while being pursued by rumours that she was Galliani's lover and that she let him believe it. [...] Gene Gnocchi, Fiorello, Fabio Fazio, Baudo himself. [...] They are the heroes of TV opportunism, the ones with the glossy masks. They work on the condition that they don't rock the boat, not realising that opportunism is a form of corruption.
    • Per essere ammessi in tv bisogna appartenere alla nuova specie televisiva creata negli anni berlusconiani, ma che va ancora di moda. La figura del paraculo, sì, scriva pure così, quello che non si schiera mai, che si mimetizza, che fa del qualunquismo una bandiera. [...] Nomi e cognomi, come faccio nello spettacolo. Bonolis che dichiara di non sentirsi né di destra né di sinistra, Fabio Volo che si vanta di essere qualunquista, Simona Ventura che si definisce equidistante, aggiungendo candidamente di aver lavorato a Mediaset inseguita dal pettegolezzo di essere l'amante di Galliani e di averlo lasciato credere. [...] Gene Gnocchi, Fiorello, Fabio Fazio, Baudo stesso. [...] Sono gli eroi dell'opportunismo tv, quelli con la maschera patinata. Lavorano rispettando la condizione di non disturbare, non accorgendosi che l'opportunismo è una forma di corruzione.

Filmography

Bibliography

  • Gino e Michele, Matteo Molinari, Anche le formiche nel loro piccolo s'incazzano. Opera omnia, Arnoldo Mondadori Editore, Milano, 1997. ISBN 88-04-43263-2


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